Indie-Placement

If you've noticed a jump in the amount of original music in television and movies in recent years, you're not only hearing the work of the respective artists, but also the work of the music supervisor — a role that has emerged as a new A&R force in the evolving music industry.

"Our job is to find the right [musical] fit for the narrative, for the scene," says John Houlihan, who has supervised music for films including all three Austin Powers films and Training Day, as well as the CBS series "The Defenders." "The challenge is finding the right music out of so much music out there."

Music placed in television series, movies and commercials has helped propel the careers of many indie artists — Apple commercials alone have featured music from indie bands such as the Blue Van, the Boy Least Likely To and the Fratellis, among others.

But making the right musical connection can sometimes be like finding a needle in a haystack. While music has come at music supervisor Gary Calamar from every direction, he usually relies on music libraries and performing rights organizations to seek out new music, but it also comes in serendipitous ways. For example, Calamar had never heard indie singer/songwriter Cary Ann Hearst's song "Hell's Bells," but the title alone was enticing enough for Calamar to give it a listen. The next stop for her song was the end credit crawl on an episode of the HBO series "True Blood."

"It's rare when it happens that way," says Calamar, who hosts a radio program on KCRW in Los Angeles and has also placed music for other TV shows such as "Dexter" and "House."

Ralph Sall has been a music supervisor for film and television for more than 20 years, placing key songs in movies including Buffy The Vampire Slayer and Charlotte's Web, and television series such as the Nickelodeon teen drama "Degrassi."

Sall says that TV series are where the biggest opportunities for music placement lie for independent artists. "Television is a beast that requires constant feeding," he says.

However, it's not necessarily where the biggest paydays are. Sall says it's not uncommon for artists to agree to synch licenses for as little as $1,500 to $3,000, compared with the five- and six-figure licenses that chart-toppers by major artists command in major motion pictures.

But Sall believes the trade-off for exposure is usually worth more than a smaller synch advance, especially if the artists develop a sense of which shows best suit their music. He notes that artists such as the Academy Is…, All Time Low, Natasha Bedingfield, and Paramore all agreed to relatively low synch license buyouts early on for "Degrassi," and all benefited when the series became a teen tastemaker. Furthermore, Sall says artists can make step deals: one amount for the initial broadcast but additional payments for reruns and DVD sales.

Tess Taylor, president of the National Association of Record Industry Professionals, thinks placement of music in television shows, movies and commercials offers more opportunities for indie artists than radio.

"Radio is concentrated and getting added to playlists generally requires promotion campaigns and big budgets that are beyond the reach of the average artist," says Taylor.

But while radio may be challenging, the number of opportunities for indie musicians in TV and film has increased in recent years with cuts in production budgets. However, with film studios being open to the idea of lower-cost indie music, there's also no shortage of aspiring artists wishing to, literally, score those opportunities. Sall says his email inbox is "choked" with submissions from music libraries, record labels and other sources.

"I have to be careful because it could easily get overwhelming," says Sall, who uses online sources such as Mojo and Pitchfork to stay current with the indie scene. "It has to come from a trusted source."

But how does one become a music supervisor?

"Get let go from a major record label," jokes Houlihan.

The punch line is a bit of a dark humor commentary on the industry landscape that's seen many former record label employees try their hands at music supervision. But while Houlihan quickly points out that music supervisors have to be intimately familiar with the workflow of films and television, he also acknowledges the newfound power of the position.

"A lot of what we do is what record labels had done for years," he says. "Find new music and find a place for it."

(Dan Daley is a freelance journalist covering the entertainment business industry. He lives in New York and Nashville.)

Back To School: Students Reveal End Of Summer Soundtrack

From Kendrick Lamar and Foo Fighters to COIN, Paramore and Khalid, get a taste of the songs GRAMMY U college students are feeling as they head back to school this fall

Brian Haack

GRAMMYs

Aug 29, 2017 - 6:35 pm

Almost everyone is stoked when summertime rolls around each year, and that usually goes double for college students.

Exams are finished, papers are written, presentations have been delivered, and all that's in front of you is a few months of rest, relaxation, vacation, and vegetation (of the couch-potato variety). But on the flip side of the season, the feelings we experience as we transition back into fall, and by extension the school year, are generally a bit more complex.

Each student views the coming school year through a different lens, their feelings informed by everything from how they left things with their roommates and teachers the previous year, to what they may have accomplished during the summer months, to their excitement (or sometimes lack thereof) for the future as they start the next phase of their scholastic career.

Music is there for us whenever we try to examine and unpack our most complex feelings. The words and melodies written by our favorite artists have the power to strengthen and embolden us, comfort or console, or just let us know that someone else understands.

We asked a group of our most active GRAMMY Ustudents to bottle their feelings in song as they return to school for the 2017–2018 year. Here are the 19 tracks they picked — take a listen, take a read, and take some time to reflect on where your head is at as the summer draws to a close.

This new single from the Foo Fighters has been on my playlists all summer. With lyrics like "In another perfect light/we run," that seem to be reminiscing on better summer days, and lyrics that are more forward looking like "We are the nation's stakes/ if everything's erased/what you gonna do?" the song sounds like a classic Foo Fighters jam, which is always helpful for getting me ready to go to class. — Christina F., Seattle University, class of 2018

"Get It," Kaleb Mitchell

This song describes my motivation for this year and how I want to excel in everything I do. It gives me motivation that, though one may be looked at as the underdog, it is possible to still come out victorious. — Wande I., University of Texas at Austin, Class of 2018

"Young, Dumb & Broke," Khalid

As a second-year law student, everyone is rushing to plan the next two years of their lives in two weeks instead of realizing that life is not a sprint, it is a marathon. We have the rest of our lives to plan our careers, so there is time to enjoy the journey. — Honor W., Howard University School of Law, class of 2019

"Blood & Tears," Joseph

As I'm heading into my senior year, I've spent time reflecting on my time in college, and I truly feel I have put blood and tears into finishing my degree. However, like this song implies, it wasn't easy, but I'm going to finish strong! — Meredith W., Dallas Baptist University, class of 2018

Kendrick Lamar's "DNA." is a confidence booster, and a bold reminder of how limitless the future is when you tap into what's already inside of you and focus on that end goal. — Brandon T., Full Sail University, class of 2017

"Obsession (25/7)," Vice feat. Jon Bellion & Kylie

Not wasting any time, the beat creates an instant vibe that refuses to let you to sit still. The rhythmic high-pitched sounds throughout this song work as a funky humming bird serenading your ear. And with Jon Bellion's smooth vocals leading the verses, by the chorus you're in it! The crazy pallet of sounds used and strong synths immediately hypnotize your body, leaving you with uncontrollable movement. This hit song just exudes happiness and joy; a great way to start off the school year! — Medhan A., Columbia College Chicago, class of fall 2017

It helps me remember that everything can be as easy as 123, and as simple as do re mi, especially as a music student. — Oliver R., California State University, Northridge, class of 2018

"There For You," Martin Garrix feat. Troye Sivan

The song is bittersweet and has a centralized idea around the trust between one person to another. I see the song as my trust toward my school, and the emotions that come with friends, finals, and new experiences that come with each new year. — Marc G., Seattle University, class of 2019

"Unforgettable," French Montana feat. Swae Lee

Going into my last semester of school, I think of how unforgettable my time at Columbia College has been, and how I've grown to be the person I am today. It also has such a summer vibe, I've been listening to this song every day since it came out. — Nicole H., Columbia College Chicago, class of 2018

"Another Day Of Sun," from La La Land

This song is about chasing your dreams, because there is really no other thing you want to or could possibly do, but also a reminder that "when they let you down" there is a new mercy each morning. I'm excited to "chase all the lights that shine" this school year, as the new year offers a clean slate to have yet another day of sun. — Kenady S., Dallas Baptist University, class of 2018

"Malibu 1992," COIN

This song encapsulates the reminiscence and longing one can have for something/someone, and it relates to how I feel moving on from this summer and going back to school. I am excited for what is ahead of me, but I know I will be nostalgic for the simplicity and memories of this past summer. — Saloni J., DePaul University, class of 2020

Lyrically, the song perfectly describes the majority of college students' mindset midway through a semester. Ironically, the song's dynamic is very upbeat. I like to think that, despite the hardships that academics may bring, there's an acceptance that academics will be difficult, but we may push through and strive if we choose to. — Maxwell Y., Texas State University, class of 2018

This song captures my excitement to take on new challenges and helps me unleash the confidence I need to take on my new classes and upcoming performances/showcases! When I'm feeling stressed out, I'll remember I can be the queen that's inside of me! — Kira M., Los Angeles College of Music, class of 2018

Above all, this song is about devotion, and if I have learned anything about college or the music industry, it is that there is truly no limit to what you can achieve if you commit fully in body, mind, passion, and honesty. — Lucky B., Musicians Institute, class of 2018

After a semester of studying abroad, I cannot wait to get back to school, and back to GRAMMY U! This song captures my excitement about the upcoming school year, and how motivated I'm feeling for another great year. — Gabrielle R., George Washington University, class of 2018

"Wish (Komm Zu Mir),” Thomas D. feat. Franka Potente

The song is a soundtrack from Run Lola Run, a movie in which the protagonist runs relentlessly to subvert fate. I'm starting my final year in college, and this song helps prepare me for an extremely hectic semester. — Evie W., Agnes Scott College, class of 2018

"Molasses," Hiatus Kaiyote

The song describes a person who doesn't know their future, but they stay fearless regardless. It's something I resonate with at the beginning of a crazy last year. — Bria D., Pepperdine University, class of 2018

"Bellyache," Billie Eilish

My college experience has been rather underwhelming as far as knowledge and growth are concerned … my classes haven't pushed me much, so most of my time is spent teaching myself how to grow as an artist based upon real world experiences. I chose this song because it embodies how psychotic school makes me feel. — Butch "OddKidOut" S., Drexel University, class of 2018

"The Future," San Holo feat. James Vincent McMorrow

We all think wayyy too much about our careers and where we are headed in the future. Stop thinking so much about the future and be present in the now. — Janette B., master's student, University of Miami, class of 2018

MTV's "Unplugged" Turns 25

For a quarter century, "Unplugged" has built an acoustic institution ripe with intimate surprises, iconic performances and GRAMMY-winning recordings

Alan di Perna

GRAMMYs

Aug 17, 2017 - 1:12 pm

GRAMMY.com

In the 25 years since the Nov. 26, 1989, debut of MTV's"Unplugged," the television program has become a pop culture institution.

The very term "unplugged" has entered the language as standard parlance for any performance involving acoustic guitars and other unamplified musical instruments. It is also shorthand for virtually any intimate, heartfelt form of musical presentation. A quarter century down the road, "Unplugged" remains a prestigious platform for today's top stars, with shows in recent years featuring Lil Wayne, Thirty Seconds To Mars, Rita Ora, Paramore, Vampire Weekend, and Katy Perry. The series has also amassed an impressive history of performances by GRAMMY-winning artists such as Paul McCartney, Eric Clapton, Tony Bennett, Bob Dylan, Jay Z, Elton John, Pearl Jam, and Mariah Carey, among others.

Considering its success, it's hard to believe that "Unplugged" was once a left-field concept. But it did come along at the tail end of the high tech '80s, when synthesizers and amped-up rock ruled the charts. In fact, the series got started because singer/songwriter Jules Shear needed a way to promote his acoustic album, The Third Party.

"We were trying to think of what we could do to promote the record, and I came up with a loose idea," recalls Shear. "What if we put these people together and create a show which consists of everybody playing songs together, but only with acoustic instruments, and we'll try to get it on HBO or something?"

HBO passed on the concept but MTV snapped it up, placing the show in the capable hands of longtime producer Alex Coletti. The debut installment of "Unplugged" featured Chris Difford and Glenn Tilbrook from Squeeze, singer Syd Straw and Cars guitarist Elliot Easton, along with Shear as host. The artists sang and played their own material, but also performed songs together, hootenanny-style, including a joint performance of the Neil Diamond-penned Monkees hit "I'm A Believer."

It wasn't long before some of the biggest names in music wanted to join the party.

"The show took on its own life after a while," says Coletti. "When it outgrew that folkie, 'just sitting around with friends' kind of thing is when Jules and us parted ways. The format changed to featuring one or two acts at the most, as opposed to five."

One landmark early "Unplugged" episode materialized with McCartney's 1991 appearance. McCartney took a purist approach, insisting on using all acoustic instruments, as opposed to acoustic guitars fitted with electronic pickups, and became the first of many artists to release a successful album drawn from his performance on the show, Unplugged (The Official Bootleg).

"I liked the idea that there was a show that reduced music to its bare essentials," McCartney said in 1992. "I liked the idea that to be on that show you had to be able to play your instrument and sing live. Having just been on a tour, we liked the idea of stripping back the whole big production just to acoustic guitars."

As "Unplugged" grew in popularity and prestige, it also came to embrace a wider diversity of musical genres. The series' first-ever episode devoted to rap took place in 1991, featuring LL Cool J, MC Lyte, De La Soul, and A Tribe Called Quest, with instrumental backing from Pop's Cool Love.

"The rap show proved that there were a couple of alleys we hadn't turned down yet," says Coletti. "We rehearsed the night before and LL Cool J had never worked with a live band. Before long, he was calling the shots like he'd been doing it his whole life."

"Unplugged" would reach greater heights as a result of Clapton's 1992 performance. The guitarist's resultant Unplugged album garnered a total of six GRAMMYs, including the first-ever Album Of The Year award to be given to an album drawn from the program. (Two years later, Bennett took the same award for his MTV Unplugged album.) Interestingly, Clapton hesitated before releasing the performance on disc, concerned that it wasn't good enough.

"There's no way to know in advance that a thing you recorded and that took three hours, tops, one afternoon out in England is going to sell 26 million records and win half a dozen GRAMMYs," says longtime Clapton bassist Nathan East.

Perhaps the biggest success to come from Clapton's "Unplugged" set was the ballad "Tears In Heaven," which was written following the loss of his son Conor, who died at age 4 in 1991. Clapton had earlier recorded a studio version of the song, but it was the "Unplugged" performance that became a huge hit and won three GRAMMYs, including Song and Record Of The Year.

Spotify Playlist: MTV "Unplugged" 25th Anniversary

Arguably, the series' most iconic performance featured '90s alt-rock icons Nirvana, who were at the height of their fame when they were booked to tape "Unplugged" on Nov. 18, 1993.

"We practiced for 'Unplugged' before we went on tour, because we knew we were gonna do it," recalls former Nirvana auxiliary guitarist Pat Smear. "So we used some of those songs in our live show as well, just a small [acoustic] set that included maybe 'Polly,' [David Bowie's] 'The Man Who Sold The World' and 'Dumb.'"

Segments from the program were played in heavy rotation following the shocking news of Cobain's death in April 1994. The vulnerability of the performance, combined with the funereal look of the stage set, gave these segments an eerie air of poignancy at the time. Nirvana's MTV Unplugged In New York album ultimately won a GRAMMY for Best Alternative Music Performance for 1995.

Latin music came to have a significant presence on "Unplugged" in the '90s and beyond, starting with a performance by Los Fabulosos Cadillacs in 1994. Shakira's 1999 appearance marked the channel's first Spanish-language broadcast and yielded the singer's own Shakira —MTV Unplugged album, which won the Best Latin Pop Album GRAMMY for 2000. Columbian star Juanes would win the same award for 2012 for his MTV Unplugged Deluxe Edition album.

In 2005 Alicia Keys helped relaunch the program after a three-year hiatus. Her performance, which featured collaborations with Common, Maroon 5, Mos Def, and Damian Marley, resulted in a chart-topping album.

"'Unplugged' [was] such an amazing and eclectic musical experience which enabled me to arrange the songs with a new perspective, express myself musically, and connect with my fans on a different level than ever before," said Keys in 2005.

More recently, the series has continued to thrive in the digital age with a renewed emphasis on mainstream artists, including installments with Perry (2009), Florence & The Machine (2012) and Miley Cyrus (2014), among others. The latter show featured Cyrus covering Dolly Parton's classic "Jolene" as well as a sexed-up duet with Madonna that seemingly symbolized a torch being passed from one generation to the next.

"I wanted to do 'Unplugged' because at the end of the day I'm a musician, that's what I love to do," Cyrus told MTV. "I like shock value … but that is all second to music for me."

Like "Saturday Night Live" or, in days gone by, "The Ed Sullivan Show," MTV's "Unplugged" has proved a venerable showcase for musical talent both classic and contemporary. By constantly reinventing itself — while also staying true to its core value of intimate acoustic-based performances — the series has remained a class act.

(Veteran music journalist Alan di Perna is a contributing editor for Guitar World and Guitar Aficionado. His liner notes credits include Santana Live At The Fillmore East, the deluxe reissue of AC/DC's The Razor's Edge and Rhino Records' Heavy Metal Hits Of The '80s [Vols. 1 and 3].)

Each summer, the Alternative Press Music Awards creates a temporary hub for the best in alternative music of all stripes. Tours are re-routed, overnight drives are endured and showers are skipped, all so this community of artists can come together in a fury of celebration. Part summer camp, part reunion, you never know what will happen at the APMAs.

Korn sat down with The Recording Academy to talk about their 12th studio album, Serenity Of Suffering, as well as what makes Machine Gun Kelly unique, advice for aspiring musicians and what they want their legacy to be.

That's where we come in! For the third year running, The Recording Academy was onsite, behind the scenes and backstage, talking with your favorite artists from the show. This year, we enlisted Anthony Vincent, the multitalented musician behind Ten Second Songs, to be our man on the ground and provide a candid look at the mayhem in Cleveland.

With performances from Korn, Pierce The Veil, All Time Low, the Pretty Reckless, and more, and the debut of Black Veil Brides' Andy Biersack as host, there was plenty of action at this year's awards. In anticipation of the festivities, take a look back at some highlights from our coverage of past APMAs.

In 2016 we were in Columbus, Ohio, to catch hometown heroes Beartooth, hear some wild tour stories and even talk with Japanese pop-metal darlings Babymetal, right before their show-stopping performance with Rob Halford.

In 2015 we took an in-depth look at the APMAs with exclusive interviews, rehearsal footage and artist reactions as Alternative Press celebrated its 30th anniversary with a special exhibit at the Rock and Roll Hall of Fame and a killer show.

Lil Yachty to Miley Cyrus: What was new in music in May?

Covering pop, rap, country, jazz, and more, take a look back at some of the latest music released in May

Renée Fabian

GRAMMYs

Jul 24, 2017 - 2:10 pm

GRAMMY.com

It's that time again, when we gather some of the best new releases from the last month and deliver them straight to your front door. While it's always near impossible to choose just a handful of new releases to spotlight, we want to give you a little bit of everything — from pop, rock, hip-hop, country, and more. So without further ado, take a look back at the Monthly Music Roundup for May.

Albums

The Afghan Whigs, In Spades

This '90s alt-rock mainstay is back In Spades with their second release since reuniting in 2012. "Bolstered again by the louche and ravaged voice of singer Greg Dulli," writes Pitchfork, "the latest from the indie rock icons is delightfully stuffed with romance and rancor."

Diana Krall, Turn Up the Quiet

The sultry-voiced GRAMMY winner takes it back to basics for Turn Up The Quiet as she revisits standards such as "L-O-V-E," "Blue Skies" and "Night And Day" with alternating backing bands. Produced by GRAMMY winner Tommy LiPuma prior to his passing this past March, AllMusic.com says of the album, "The end result is so elegant, it seems effortless."

Natalia Lafourcade, Musas

Like many of her acclaimed albums, GRAMMY winner Lafourcade's Musas "serves as a mini lesson in Latin American music." A combination of Latin American standards and songs written or co-written by Lafourcade, she told Remezcla the album represents "patience" and "humanity."

Mary Lambert, Bold

The "Same Love" GRAMMY nominee is back at it with her latest, the crowdfunded EP, Bold, which Bust describes as a mix of "emotionally deep and thought-provoking songs" and "fun feel-good jams." Bold is an open and honest ode to living a full life and includes a little dancing, a little poetry and even a duet with her mom.

Lil Yachty, Teenage Emotions

With guests such as Migos, YG, Kamaiyah, and GRAMMY winner Diplo, Lil Yachty is ramping up with Teenage Emotions. The 21-song album reflects an empowering, "be yourself" message. "Don't be afraid to do you, to be you," Lil Yachty said on Instagram Live. "If you have vitiligo or if you're gay or whatever it is, embrace yourself. Love yourself. Be happy, positive."

Logic, Everybody

Rapper Logic has taken his game to the next level withn Everybody, on which he tackles everything from mental health to his biracial identity. The album has already charted at No. 1 on the Billboard 200, and XXLmag.com said it "further solidifies Logic['s] solid standing in hip-hop."

Paramore, After Laughter

Paramore's After Laughter is a "very of-the-moment" pop record that ditches the bubblegum but keeps the catchy hooks. Or, as Rolling Stone says, it's "a record that's so sunshine-bright it gives off a glare at times, rooted in fleet basslines and beats made for open-road drives and solo bedroom dance parties" that also has a bit of "cocked-eyebrow trepidation."

Perfume Genius, No Shape

Perfume Genius — aka Mike Hadreas — is back with his fourth studio album, No Shape. Produced by GRAMMY winner Blake Mills, the singer/songwriter continues his confessional brand of indie-pop in grand style. "These songs swoop and chatter like flocks of mad starlings, light up like religious paintings, … make the cosmos explode inside your ribs," Pitchfork writes. "No Shape rebukes tasteful minimalism and embraces beauty at its most transgressive."

Chris Stapleton, From A Room: Volume 1

His first album since winning the GRAMMY for Best Country Album for 2015's Traveller, From A Room: Volume 1 also embraces '70s-sounding outlaw country, including a cover of Willie Nelson's "Last Thing I Needed, First Thing This Morning." While the record only runs approximately 30 minutes, Variety said, "Country has been holding out for a hero so long, even a display of superpowers as modest as From A Room feels epic enough."

Wale, Shine

Rapper Wale's fifth studio album, Shine, covers a lot of musical ground across 14 tracks. There's dancehall with a Diplo co-produce, a Latin connection with a J Balvin feature and a revisit of the seminal, "Smile." While Complex calls the album "a new dad rap classic" in light of its devotion to Wale's daughter, it's not a bad thing — the "different flavors" the album evokes are cause for celebration.

Roger Waters, Is This The Life We Really Want?

The former bassist for Pink Floyd, Waters' latest album hearkens back to a 1970s sound. GRAMMY-winning producer Nigel Godrich was given unusually strong oversite of the album. The result is an album that reaches from politics to the personal in a Floydian-esque package of the best kind. Waters told Entertainment Weekly, "It's about the transcendental nature of love and, I suppose, how it can transform anger into compassion."

Zac Brown Band, Welcome Home

Appropriately titled, this LP takes Zac Brown Band back to their roots of a more traditional country sound, including "Roots" and "Family Table." AllMusic.com says, "The sound of Welcome Home is a warm, comfortable bath" that "is the very definition of music as comfort food." For those who appreciate this melodically inclined country band, it will definitely be a Welcome Home.

Deluxe Editions

The Beatles, Sgt. Pepper's Lonely Hearts Club Band

A must-have for collectors, the 50th-anniversary super deluxe edition of the Beatles' classic 1967 album is packed with fabulous bonuses and extras. Aside from a new stereo mix of the album and track outtakes, the super deluxe set features 33 more recordings from the Sgt. Pepper sessions, unreleased mono mixes, surround-sound audio mixes, a documentary, and commemorative hardcover book.

Singles soundtrack

With '90s nostalgia in full bloom, the 25th-anniversary deluxe edition of the Singles soundtrack is an alt-rock feast for the ears. The set features a remastered version of the original soundtrack, featuring Gen X classics by Alice In Chains, Mudhoney, Pearl Jam, and Chris Cornell, plus a bonus disc of previously unreleased songs and rarities, including songs heard in the film but not on the original soundtrack. Also included is a full EP from the late Cornell, featuring an early version of Soundgarden's GRAMMY-winning song "Spoonman."

Singles

Miley Cyrus, "Malibu"

Cyrus' "Malibu" does not come in like a wrecking ball. Quite the opposite, actually. A sweet love song that goes back to basics in its instrumentation, "Malibu" could be the soundtrack for your summer fling.

Flume, "Hyperreal"

A move toward a more house-sound for Flume, "Hyperreal" features Australian singer Kučka. Her ethereal vocals compliment asymmetric synths and a darker backdrop with crunchy atmospherics.

Haim, "Want You Back"

A mid-tempo tune with the Haim sisters' signature vocals, "Want You Back" continues their brand of pop, this time with a love song. NPR adds that the track features "production that feels like several songs layered up and seeking maximum heart."

LCD Soundsystem, "Call The Police"/"American Dream"

Released as a "double A-side" to their upcoming comeback album, LCD Soundsystem evoke two separate moods with these two tracks. "American Dream" languishes with self-deprecating talk about love while "Call The Police" has instrumentals that, per Pitchfork, sound like "downed live wires …raring to go."

Some of the content on this site expresses viewpoints and opinions that are not those of The Recording Academy. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for The Academy lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by The Recording Academy. BELIEVE IN MUSIC is a trademark and/or registered trademark of National Association of Music Merchants, Inc. Used under license.